The traditional story of Cinderella  is left fairly well intact by Rachel More in her well-scripted adaptation for Kidzstuff Theatre for Children’s current school holiday production, which has four actors playing multiple roles without losing the essence of the story. 

As is usual with the story, the play opens with Cinderella (Jessica Robinson), grubby and unkempt, asleep in the fireplace of the kitchen.  When the 6am alarm goes and she has to get up to do all the housework she quickly involves all the audience in helping,. This interactive start is a hit with the audience and a very creative way of getting them involved.   

Of course her stepsisters Myrtle (Gavin Rutherford) and Gertie (Bryony Skillington) are soon on the scene, as is the dapper Pierre (David Goldthorpe), the Fairy Godfather, inviting everyone to a ball hosted by the Queen of Wellingtonia (Skillington) to celebrate the 21st birthday of her son, Prince Egbert (Rutherford). 

Naturally the stepsisters tart themselves up and go off to the ball while Pierre helps Cinderella transforms herself, very cleverly in this production, into new clothes hair and make-up.  In another clever device by the set design team, he turns the kitchen into the castle ballroom where Cinderella meets and falls in love with the Prince. 

Then, as we all know, she rushes off, leaving her shoe behind for the Prince to find, which gives him the opportunity to find Cinderella the next day.  This time, however, they decide to get engaged and travel the world together rather than get married, including going to Egypt to find her dad who is digging for mummies – a running gag.

With style and polished professionalism under the assured direction of Jane Waddell, the cast bring this well known story to life with a freshness and enthusiasm that has the young audience and their parents totally enthralled from start to finish.
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No story has scarred our psyches as deeply as Cinderella; she even has a syndrome named after her. (Is there a Handsome Prince Syndrome too?)

In Rachel More’s version – created for KidzStuff and directed by Jane Waddell – the prize is not princess-hood and the baubles of royal wealth, power and prestige. It is personal liberty and the freedom to travel the world, which of course does raise the matter of financial wherewithal …

To cut to the end, the Prince’s dosh does pave the way for Cinderella (Jessica Robinson) to get her wish but hey, she has been exploited all this time by those horrible self-obsessed step sisters of hers – Myrtle (Gavin Rutherford) and Gertie (Briony Skillington); they didn’t even give her pocket money! – and it’s not as if she went after him for his money or anything ….

In fact she was not in the least bit interested in him, having heard Prince Egbert (Rutherford) was a bit spotty and smelly and spent far too much time on his computer, which is why, in desperation, his mother, the Queen of Wellingtonia (Skillington), throws the ball by which to find him a bride.

As for him, he does not want to be king and live a life of endless parades, speeches and cocktail parties. Nor does he want to be forced into marriage with one of the ghastly socialite gold-diggers that vie for his hand to gain access to the so-called the high life. And he’s not that spotty or smelly either. No, he really wants to do is travel and see the world …  

Above all, then, they find each other as soulmates, free to explore and expand their experience, and to face such momentous milestones as marriage when they want, with whom they want. The finer details of financial resourcing, let alone the personally political implications of who pays for what, are probably beyond the grasp of the target young age-range so they do get glossed over.

The facilitator of Cinderella’s change of fortune is Pierre (David Goldthorpe), passed down from Cinders’ late mother and only able to materialise at times of great need. Under his trench-coat he is all Gok-esque style (although he does admit to having "a tutu or two too" stashed away). The audience participation he encourages is especially good because it is essential to the plot and makes a difference.

The transformation scene is simple and effective, and the question of whether she needs make-up becomes a fascinating one. His answer is face-wipes to remove the soot and reveal her natural beauty – but the kids at the opening performance shouted for make-up, bless ’em.

Cinderella’s father, by the way, found his second wife through a Lonely Hearts Club and now they are in Egypt (cue running sight-gag) on an archaeological dig (yes: "daddy is digging for mummies").

All four actors do a great job, very much focussed on their target audience with a script that rightly assumes the parents and care-givers are likewise most focused on the kids having a great time. Amid the lightness and fun the moments of truth are played for real so it is genuinely touching when it needs to be.

The simple swivel-panelled set painted by the cast and crew, the excellent lighting by Deb McGuire and the good generic music composed and recorded by Michael Nicholas Williams all serve the show well.  

Once more with their trademark blend of classical tales in a contemporary context, KidzStuff delivers delight.
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